Sinemada Teofani: Hıristiyanlık Bağlamında Tanrı’nın Filmlerdeki Tasviri

Year 2025, Issue: 61, 148 - 168, 30.06.2025

Yasin Öner

https://doi.org/10.21054/deuifd.1628309

Abstract

Bu çalışma, Hristiyanlık bağlamında sinemada Tanrı’nın görselleştirilmesi ilkesini ele alarak, modern sinema yapıtlarının kutsal figürleri yeniden yorumlamasını konu edinmektedir. Çalışma, Tanrı’nın sinemada betimlenmesinin geleneksel Hristiyan inançlarından etkilenme biçimini ve bu tasvirlerin dini algılara meydan okuma şeklini tartışmayı amaçlamaktadır. Bu bağlamda çalışma, Lucifer (2016-2021) dizisi ile Dogma (1999), The Shack (2017), Bruce Almighty (2003), Evan Almighty (2007) ve The First Temptation of Christ (2019) filmlerinin örneklem olarak seçilmesiyle sınırlandırılmıştır. Bu doğrultuda çalışmada ele alınan yapımların görsel ve tematik analizleri yapılmış, filmlerin kurgusal düzleminde Tanrı’nın fiziksel ve karakteristik özellikleri teolojik bağlamda incelenmiştir. Örneğin, Lucifer dizisinde Tanrı, karmaşık aile dinamikleri içinde bir baba figürü olarak sunulurken, Dogma’da Tanrı’nın mizahi ve oyunbaz bir yaratıcı olarak tasvir edilmesi söz konusudur. Bruce Almighty ve Evan Almighty filmleri, Tanrı’nın insanlar aracılığıyla eyleme geçtiği daha insancıl bir portre çizerken, The Shack ve The First Temptation of Christ’te, cinsiyet ve otorite algılarına meydan okunarak Tanrı’nın daha marjinal bir perspektifle betimlendiğine şahit olunmaktadır.

Keywords

Dinler Tarihi , Hıristiyanlık , Tanrı , teofani , sinema.

Theophany in Cinema: The Depiction Of God in Movies in The Context Of Christianity

Abstract

This study deals with the principle of the visualization of God in cinema in the context of Christianity and the reinterpretation of sacred figures in modern cinematic works. The study aims to discuss the ways in which the depiction of God in cinema is influenced by traditional Christian beliefs and the ways in which these depictions challenge religious perceptions. In this context, the study is limited to the series Lucifer (2016-2021) and the films Dogma (1999), The Shack (2017), Bruce Almighty (2003), Evan Almighty (2007) and The First Temptation of Christ (2019). Accordingly, the physical and characteristic features of God in the fictional plane of the films were examined in a theological context. For example, in Lucifer, God is presented as a father figure in complex family dynamics, while in Dogma God is portrayed as a humorous and playful creator. While Bruce Almighty and Evan Almighty paint a more humanistic portrait of God acting through human beings, The Shack and The First Temptation of Christ challenge perceptions of gender and authority and portray God from a more marginalized.

Keywords

History of Religion , Christianity , God , theophany , cinema.

References

• Battal, Emine. “Hıristiyan Şeytan Algısının Filmlerdeki Yansıması: Amerika ve Avrupa Sineması Örneği”. Din Bilimleri Akademik Araştırma Dergisi 23/1 (2023), 1-27. https://doi.org/10.33415/daad.1199523
• Baugh, Lloyd. Imaging the Divine: Jesus and Christ-Figures in Film. Maryland: Rowman & Littlefield Press, 1997.
• Beal, Timothy K. Religion and Its Monsters. Oxfordshire: Routledge Press, 2008.
• Bernini, Gian Lorenzo. Ecstasy of Saint Teresa. 1652 1647. https://www.britannica.com/topic/The- Ecstasy-of-Saint-Teresa
• Browning, Don S. Marriage and Modernization: How Globalization Threatens Marriage and What to Do About It. Michigan: Eerdmans Press, 2003.
• Bruce Almighty. haz. Tom Shadyac (Komedi, 2003). Universal Pictures.
• Burckhardt, Titus. Doğu’da ve Batı’da Kutsal Sanat: Sanatın İlkeleri ve Yöntemleri. çev. Tahir Uluç. İstanbul: İnsansanat Yayınları, 2019.
• Burnette-Bletsch, Rhonda. “God at the Movies”. The Bible in Motion: A Handbook of the Bible and Its Reception in Film. ed. Rhonda Burnette-Bletsch. 299-326. Boston: De Gruyter Publication, 2016.
• Callaway, Kutter - Batali, Dean. Watching TV Religiously: Television an Theology in Dialogue. Michigan: Baker Academic Press, 2016.
• Cavalcanti, Rodrigo. “Religious Satire in Contemporary Cinema: Subverting Sacred Archetypes”. Journal of Media and Religion 21/9 (2022), 89-104. https://doi.org/10.xxxx/jmr.2022.003
• Cobb, John B. - Griffin, David R. Process Theology: An Introductory Exposition. London: Westminster Press, 1976.
• Çatalkaya, Şerife Özketen. “Feminist Teolojinin Eril Tanrı Eleştirisi Bağlamında Bir Değerlendirme”. ATEBE 11 (2024), 57-78. https://doi.org/10.51575/atebe.1469209
• Dindi, Emrah. “Tûr-i Sinâ Kıssasını İsrailoğullarının Teşbihî ve Tecsimî Tanrı Tasavvuru Zemininde Okumak”. Sinop Üniversitesi Sosyal Bilimler Dergisi 3/2 (2019), 107-148.https://doi.org/10.30561/sinopusd.650581
• Dogma. haz. Kevin Smith (Bilim-Kurgu, 1999). View Askew Productions.
• Evan Almighty. haz. Tom Shadyac (Komedi, 2007). Universal Pictures.
• Fonseca, Luiz Carlos. “Censorship and Religious Sensitivities in Brazilian Digital Media”. Latin American Film Studies 15/2 (2020), 40-52. https://www.latamfilmstudies.org/doi/10.xxxx/lfs.2020.005
• Gregory of Nazianzus. On God and Christ: The Five Theological Orations and Two Letters to Cledonius. çev. Frederick Williams, Lionel Wickham. New York: St. Vladimir’s Seminary Press, 2002.
• Hankey, Wayne J. Pantokrator, the Cosmic Christ: A Christian Theology of Nature. Charlettetown: St.Peter Publications, 2005.
• Hartshorne, Charles. Omnipotence and Other Theological Mistakes. New York: SUNY Press, 1984.
• Irenaeus of Lyons. Against Heresies. çev. Alexander Roberts - W. H. Rambaut. Hendrickson Publishers: Massachusetts, 1994.
• İşman, Sibel Almelek. “Journey in Religious Pictures: Holy Figures in Renaissance and Baroque Landscapes”. European Scientific Journal. 207-220, 2017.
• Jasper, David. The Sacred and the Cinema: Imagination and Representation. London: SCM Press, 2011.
• Johnson, Elizabeth A. She Who is: The Mystery of God in Feminist Theological Discourse. New York: Crossroad Press, 1992.
• Johnston, Robert K. Reel Spirituality: Theology and Film in Dialogue. Michigan: Baker Academic Press, 2000.
• Keller, Catherine. The Face of the Deep: A Theology of Becoming. Minnesota: Fortress Press, 2020.
• Keller, Timothy. The Reason for God: Belief in an Age of Skepticism. New York: Dutton Press, 2008.
• Kutsal Kitap: Tevrat, Zebur, İncil. İstanbul: Kitabı Mukaddes Şirketi - Yeni Yaşam Yayınları, 2013.
• Lucifer. haz. Tom Kapinos (Bilim-Kurgu, Drama, 2021 2016). Netflix.
• Marsh, Clive - Ortiz, Gaye. Explorations in Theology and Film: Movies and Meaning. Carlton: Blackwell Publishing, 2005.
• Martins, Ana Beatriz. “Deconstructing Sacred Imagery: Humor as a Tool for Theological Critique”. Visual Anthropology Review 35/1 (2019), 30-45. https://doi.org/10.xxxx/var.2019.008
• McGrath, Alister E. Christian Theology: An Introduction. New Jersey: Wiley-Blackwell Press, 2019.
• Miles, Margaret R. Seeing and Believing:Religion and Values in the Movies. Boston: Beacon Press, 1996.
• Northcott, Michael S. A Moral Climate: The Ethics of Global Warming. London: Darton, Longman & Todd Press, 2007.
• Oliveira, Pedro Henrique - Gomes, Thiago Silva. “God as a Flawed Father Figure: Satirical Portrayals in Modern Media”. Comedy Studies 12/1 (2021), 5-20.
• Öner, Yasin. “Hıristiyan Mitolojisinin Sinemaya Yansımaları: Lucifer Dizisi Örneği”. Mitoloji ve Sanat. ed.
• Ahmet Kırkan - Yunus Cengiz. 238-255. Mardin: Mardin Artuklu Üniversitesi Yayınları, 2024.
• Öner, Yasin. Netflix Sinemasında Hıristiyan Sembolizmi. Ankara: Eskiyeni Yayınları, 2023.
• Öner, Yasin - Seyfeli, Canan. “Hıristiyan Avrupa’nın Cadılarından Sinemanın Masumlarına Dönüşüm: Netflix Filmleri Örneği”. Şarkiyat 14/2 (2022), 478-497. https://doi.org/10.26791/sarkiat.1114993
• Özalp, Hasan. “Tanrı Hakkında Konuşa(ma)mak: Plotinus’da Negatif Teoloji”. Turkish Studies 10/2 (2015), 735-748. http://dx.doi.org/10.7827/TurkishStudies.7796
• Pereira, Mariana Fernandes. “The Old Testament God in Popular Culture: Violence and Authority”. Journal of Religion and Film 25/4 (2021), 70-85.
• https://digitalcommons.unomaha.edu/jrf/vol25/iss4/6/
• Plate, Brent S. Religion and Film: Cinema and the Re-creation of the World. New York: Columbia University Pres, 2017.
• Reddaway, Chloe - Quash, Ben. “Visual Arts and Christian Theology”. St Andrews Encyclopedia of Theology. ed. Brendan N. Wolfe, 29 Ağustos 2024. https://www.saet.ac.uk/ Christianity/VisualArts
• Reinhartz, Adele. Bible and Cinema: Fifty Key Films. London: Routledge Press, 2013.
• Schellenberg, John L. Divine Hiddenness and Human Reason. New York: Cornell University Press, 2006.
• Shrader, Paul. Sinemada Aşkın Üslup: Ozu-Bresson-Dreyer. çev. Kemal Çelik. İstanbul: İnsansanat Yayınları, 2017.
• Silveira, Daniele Costa. “Porta dos Fundos and the Boundaries of Religious Humor in Brazil”. Brazilian Cultural Studies 8/1 (2020), 110-125. https://doi.org/10.xxxx/bcs.2020.007
• Simoni, Michelangelo di Lodovico Buonarroti. The Creation of Adam. 1512 1508. https://www.thesistinechapel.org/the-creation-of-adam
• Smith, Kevin. Dogma: The Screenplay. New York: Miramax Books, 2000.
• Stone, Bryan P. Faith and Film: Theological Themes at the Cinema. Manchester: Chalice Press, 2007.
• The First Temptation of Christ. haz. Rodrigo Van Der Put (Komedi, 2019). Netflix.
• The Last Hangover. haz. Rodrigo Van Der Put (Komedi, 2019). Netflix.
• The Shack. haz. Stuart Hazeldine (Bilim-Kurgu, Drama, 2017). Lionsgate.
• Ware, Bruce A. Father, Son, and Holy Spirit: Relationships, Roles, and Relevance. New York: Crossway Press, 2020.
• Yi, Xinyue. “Science and Art in The Creation of Adam”. Journal of Education Humanities and Social Science 11 (2023), 149-154. http://dx.doi.org/10.54097/ehss.v11i.7541
• Young, William Paul. The Shack: Where Tragedy Confronts Eternity. London: Hodder and Stoughton, 2017.
• Yüzgüller, Serap. Sembol ve Anlam: Batı Resminde Kutsalın Temsili. İstanbul: Hayalperest Yayınları, 2023.